Romantically sweeping and deeply funky, Maxwell’s Urban Hang Suite defined the neo-soul movement in the late '90s. Maxwell himself will give one helluva concert on Sunday, Aug. 17, at 7:30pm at Route 66 Casino’s Legends Theater (14500 Central SW), performing work from his back catalog as well as recent stuff. After engaging a two-decade-long career arc that careened from classic to confounding, Maxwell released BLACKsummers’night to commercial and critical acclaim in 2009, once again establishing himself as the prime mover in an otherwise unpredictably bifurcating subgenre.
His rich, sometimes ornate take on rhythm and blues has earned Gerald Maxwell Rivera, noted for his physically intense performance style as well as grooved-out melodicism, two Grammy Awards, a dozen Grammy nominations and all kinds of metal-coated records too. Though his latest compositions reflect the maturity that comes from surviving the record industry and the '90s, the work is still highly diggable with sensuous overtones and a crisp, starry finish. All of that groove, past and present, can be yours for the evening. Tickets range in price from 55 to 125 clams. If you go, it will be totally fortunate, dig? Legends Theater @ Route 66 Casino • Sun Aug 17 • 7:30pm • $55-$125 • View on Alibi calendar
New Mexico Jazz Workshop’s Jazz Under the Stars concert series presents a soulfully intensive excursion to the land of complex chordal constructions and precise percussive profundity tomorrow night at the Albuquerque Museum Amphitheater (2000 Mountain NW). Pat Malone Quartet, out of Santa Fe, and local jazzsters Arnaldo Acosta Quintet play combinations of traditional and contemporary jazz guaranteed to complement the August evening weather in these parts.
Malone's career has demonstrated his proficiency and popularity among varied audiences and other musicians with work as a session player, producer and touring master of mellow. Malone will be joined on stage by Kanoa Kaluhiwa (sax), Colin Deuble (bass) and Diego Arencon (drums). Fat City drummer/local percussion legend Arnaldo Acosta opens the evening with his soul jazz project, an outfit consisting of Stu MacAskie (keys), Colin Deuble (bass) and Phil Arnold (trombone and harmonica).
Together, these two dynamic ensembles provide listeners with the opportunity to hear jazz by starlight, influenced by late summer in Burque. Tickets for this all-ages concert are $14-$16. Doors open at 6:30pm, and the music begins at 7pm. Albuquerque Museum of Art and History • Sat Aug 9 • 7pm • $14-$16 • View on Alibi calendar
Using a combination of wind instruments and percussion to describe the essentially airborne, song-like life of birds, composers John Luther Adams and Shirish Korde have succeeded in creating musical interludes that signify the delicate balance and struggle involved in the natural existence of the avians with whom we share this planet. On Sunday, Aug. 3, at 10:30am at The Kosmos (1715 Fifth Street NW), Chatter presents a concert of airy music of these composers’ works, as well as delving into a selection of sonatas by Bach. This musical experience is preceded by a poetry reading by John Macker.
The concert, featuring flautists Jesse Tatum and Shelley Brown, as well as Alexis Corbin, Hovey Corbin and Jeff Cornelius on percussion, focuses on naturalistic interpretation as well as the ornate restraint typical of Bach’s sonatas. The musicians will perform Adams’ songbirdsongs, Korde’s Tenderness of Cranes and “Trio Sonatas” from The Musical Offering. While Pulitzer Prize-winner Adams' work is directly inspired by nature, Korde took his inspiration for Tenderness of Cranes from Japanese shakuhachi flute techniques, created by a wooden instrument used in the Edo period and by Zen monks. The elegant subtlety of the Sonatas provide a rich counterpoint to the proceedings. As always, the prices range from $5-$15, and the happening includes gratis espresso. The Kosmos • Sun Aug 3 • 10:30am • $5-$15 • View on Alibi calendar
Driving across the North American continent with only a box of guitars, drum parts and the blues—and prolly the directions to dozens of roadhouses, dimly lit bars and rustic concert venues as companions—Bob Log III makes an appearance on Tuesday night at Low Spirits (2823 Second Street NW). He may or may not have his dinghy on board, but this mysterious and damn talented master of the six-string promises a jam party complete with dancing, boob-stirred drinks and lap sitting as part of the experience. Log wears a human cannonball outfit and microphone-equipped helmet during his performances. He recently chatted with the Alibi on his drive out west. The guitarist now calls Melbourne, Australia home, and stopped in the western desert to talk.
AM: So this is your big summer tour, eh?
BLIII: I get to come back home to America at least once a year, and I love it. I have a blast. I’ll play anywhere there’s a room full of people drinking beer, and that’s pretty much a lot of places.
AM: How’s it shaping up?
BLIII: This one’s pretty big, man. At one point, I’m going to be doing 37 shows in a row; it’s gonna get real interesting, but I’m also gonna get real good. I’ve been practicing 17 years for this show coming up in Albuquerque. But I keep it interesting. I change it up. I don’t do set lists. I just get up there and kinda see what happens.
Bob Log III
AM: Are you touring as a solo act this time around?
BLIII: It’s just me and the car. My plan is to kidnap people. I do have an opening band for the stretch from Nashville to New Hampshire.
AM: You’re playing that legendary Silvertone guitar for this tour, aren’t you?
BLIII: I am, but I also have some Airline guitars right now too. I get acoustic guitars and put a Silvertone pickup on them, and I put a piezo-accoustic pickup on them. There are two outs, so I get a distorted sound and an acoustic sound at the same time; that way I cover every frequency a guitar can possibly make.
AM: Don’t you also play the drums at the same time?
BLIII: When I play drums, I try to sound like a tight drummer and a drunk drummer at the same time. So time becomes like a rubber band, and I can move it or change it or shape it anyway I want. All day, time rules your day … but for an hour and a half each night I get to be the master of time. For the drunk drummer, I have a kick drum and a cymbal. For the tight drummer, I use a drum machine. My two drummers kinda hate each other. I get to finger-pick on top of the fighting.
AM: That sounds kinda tense.What do you think about that kind of tension in music?
BLIII: It's really a kind of release. The first time people started banging on rocks, it was some kind of celebration. The first music—people banging on the stuff around them—probably would have been really fucking fun. I’m trying to keep music fun. That’s my job. I don’t know anything else.
AM: Besides being fun to listen and party to, some have said your act is deeply transgressive. What are your thoughts on that?
BLIII: I’m a guitar player, and I've played since I was 11. I take that seriously, but I try to turn that into a party, a guitar party. I’m trying to get people to dance, and to dance wrong. If they drop a drink and the glass breaks, I’m doing my job. People can come on stage anytime and get crazy, and I encourage that. They come up and sit on me and I bounce them around while I play. I couldn’t actually do that in normal time, but when I play guitar I get energy I don’t normally have.
AM: What about the boob references: boobs as accompanying instruments or boob-stirred scotch?
BLIII: It’s about making fun of people who use boobs to try and sell you something. I’m saying boobs are ridiculous; let’s take out the sexy, the commercial power. Let’s do something folks would never do with their boobs. I dare anyone in the audience to do it and not smile. As for the song itself, instead of writing a song about what made my day bad, I wrote a song about what made my day good. That day, a woman saw me drinking, said give me that drink and just put her boob in it. I took a sip, and that made me feel fucking better.
AM: How does that work within your music?
BLIII: It’s the blues turned into a party. It’s like Little Richard, Chuck Berry and Bo Diddley. The songs aren’t about being sad anymore … Rock and roll came around, and then I decided to put on a funny suit and throw a party. It’s hilarious, and it’s the coolest guitar you’ve ever heard.
Bob Log III performs his one-of-a-kind take on the blues at Low Spirits (2823 Second Street NW) on Tuesday, July 22, at 9pm. Doors are at 8pm, and the cover is just 8 clams.
Listen up, humans of Earth: There is surf rock in outer space. Like the otherworldly music of Sun Ra, it passed through Alabama before spreading like a crazy, unavoidable virus across this material realm. If you find yourself befuddled by the possibilities, set your mind at ease by checking out Man or Astro-Man? on Sunday, July 20. It's all happening at the perfect venue for hosting excellent extraterrestrial expeditions, the Launchpad (618 Central SW).
After spending the past decade visiting the vasty deep beyond our fragile sphere, band members Birdstuff, Coco the Electronic Monkey and Star Crunch make landfall in Burque to perform tracks from their latest, greatest extra-solar transmission Defcon 5…4…3…2…1, as well as revisiting their wickedly precise and witty tuneage from the '90s, including tracks from Intravenous Television Continuum, Experiment Zero and the What Remains Inside a Black Hole comp. In conjunction with this rare, star-gazing visitation, earthbound Alabaman act Wray supports their self-titled debut with some intense sonic shoe-gazing while Portlandite harbinger of hip Sallie Ford adds a grounded but hard-rocking complement to the acute angles and blurry nebulas being traversed on stage. Tickets for this 21-plus show are 13 Federation Credits. The airlocks engage at 7pm, and the countdown commences at 8pm. Launchpad • Sun Jul 20 • 8pm • $13 • View on Alibi calendar